Black and White

At first I didn't understand the Facebook post that I was challenged  to post a black and white photo of my work for five days and nominate someone new each day to do the same.
I decided to accept the challenge and have fun with black and white.

I painted over a small painting 6x6 and only used black and white paint. The scene is of Dyer street a scene I'm familiar with. I painted this scene from memory changing the scene to fit my composition and so forth.

So Much can be gained by painting or sketching value patterns and I think is helpful when you apply color later on.

The second day I posted a screen print that I am working on. The image is of me and it's a photo emulsion technique. I also drew with a sharpie on parts of the photo I wanted to be dark. 

I plan on creating some color later on with the print. My inspiration is Andy Warhol who's work inspires me.

A Small Studio to Work In

This time every year is when I take a day to reorganize my studio.  I find I'm more productive in my studio when I know where everything is.

My studio has north light which produces cool controlled light and value shifts. It have had many studio's in Provincetown and there where all different types. There are 'North Light studio's " in town because  there are many professional artist's that work here.

My studio is small and it's all I can really afford. My ceilings are high and storage can be built.
I have built two lofts in order to have frames and canvas stored. I have shelves for books and still life objects.

North Light is generally and creates dramatic light effects.

Where to put everything is the challenge and takes sometime to plan out. Accessibility is key. My organizer is Astranda Gamsey, she has organized several studio's in Provincetown for me.  Astranada has a real gift for knowing exactly where things should be located in accordance to how often they are used. All brushes are in one spot and tools in another. I also have an area for printmaking in my small studio.

Once everything is off the floors there is room to paint,  stand back and look at my work.

Now to keep it that way! 

Fall Intensity

It's been great weather for painting this fall. I have started a couple large paintings and worked on many small paintings. In the past painting fall colors has been a challenge for me due the fall saturated colors.

In Carver Street painting below, I used the orange tree to the right, as a focal point. All the reds are neutrals, except the focal point which draws you in with intensity.

Carver Street Morning

Beach Forest Fall Morning is an example of a sunny morning light key. I see  the morning light a little cooler than late afternoon light key. I slightly cool the yellows and reds, so they aren't so intense.

Looking for the atmospheric colors in nature will create color harmony between the reds and the greens. 

Beach Forest Fall Morning

Changing My Palette

I have often heard it said  by more experienced artist's that if your having trouble with your colors take certain "Go To" colors off your palette so you can find different solutions for your paintings.
I'm a restless spirit that always wants to try new ideas out.
Recently I read an article In Plein Air magazine about the work of Anne Blair Brown. I like Brown's simple palette and think she's a good painter. Her choices of colors are limited. Anne uses Ultramarine Blue, alizarin crimson, Burnt Sienna, Cadmium red light , cadmium yellow light, cadmium yellow deep, yellow ochre, and titanium white.

The first painting of Provincetown east end, is totally using the limited Brown palette. All the greens are   mixed. Amazing to me how earthy the results are. The only color I didn't use was Burnt Sienna (I hope Anne will forgive me).

The Second painting is limited except I added Maganese Blue Hue, and under painting of permanent Rose. I just need to use a rich blue for the sky. I think the sky it's truly different on the Cape.

In the last Painting of Wellfleet, I added a couple more colors, orange and a touch of cadmium green in the foreground.

I loved the results I was able to achieve using a limited palette . There seems to be an interesting color harmony.  Using this type of palette is a good way to find other solutions for grays and greens and not always staying with your comfortable colors.
In the end I still love my impressionist palette of magenta, rose, green, maganese blue hue. I plan on making more paintings using other palettes in the near future."Let's face it if I put the paint on with my hands and used three colors it wouldn't look like anyone painted it but me"!

Blackstone Valley Plein Air Competition and Festival

Curtacy of Glenn Bassett 

This Weekend I participated in the 2 annual Blackstone Valley Plein Air Competition. The Blackstone Valley is set in a beautiful landscape setting of farms, rivers and 19 century mills.

I was among 34 artist's juried in by Tom Saupe, director of community outreach for alternatives. 

Yesterday was the" quick- draw ", of the competition. Paintings where done at a farm in Sutton Mass, and had to be completed in three hours.

The paintings that were produced over the weekend were  Judged by T. M. Nicholas. Next weekend will be the auction of the paintings. The auction will begin at 5:30 on October 5, in the Singh Performance Center.  Alternatives' Whitin Mill, 50 Douglas Road in Whitinsville. 

Curtasy T&G Staff/RICK CINCLAIR

The Blackstone Valley Plein Air Competition was my first competition. It was a great experience  to get out of my comfort zone and paint with  accomplished plein air artist's. The event was well managed and the staff at Alternatives was warm and helpful.

I did six paintings. I felt my last painting was the best. It seemed to take a bit to warm up and paint in a different environment than the cape.

I didn't win anything but the experience of having to produce work and finish was challenging. I think these types of events are helpful in pulling  you up to the next level in your work. The friendly sportsman ship attitude of the other artist's was also a rewarding experience.

There is much to be gained in looking at so many artist's approaches to the same challenges, plein air painting presents.

curtsy of T&G Staff/RICK CINCLAIR

Cape School Last Workshop

This past week was my last workshop of the season. It was an amazing experience for me because I think I learned so much from teaching and rethinking some of my previous methods of teaching color.

The Week was packed with surprises including an interview with Moe Rocca, CBS Sunday Morning News.

The students where agreeable to be filmed. I did a short demo at the Moors and then talked with Moe.
It will be great if the interview airs . I will be more nervous to see it then giving the interview.

I did several demo's to explain light and shade, and light key.

I sort of went a little over the top and created this very Disney painting to bring across the point not only does a sunny day have the contrast between light and shade it is all about temperature.

I did a demo at the Moors because it's just so darn beautiful on a cloudy day. Even with cloud coverage there are warm colors working as well as cool. 

The camera crew went crazy when they saw all the expressive clouds coming in at the Moors.

We ended the workshop at the Truro Vineyards were we where treated to lunch by the owner Dave who took the workshop as well.

I realize that teaching artist's to see color is an involved process and takes time to learn. Combined with pure landscape principles seeing color is very specific. I learned a great deal this summer from teaching, and am challenged to pass on more simple direct principles the next coming year.

Figures in the Painting

This week I have been doing a series of painting figures on the beach. Adding figures in paintings is a challenge. People move quickly but they can be treated the same way we treat landscape elements.

I started this painting treating the figures and boats as big silhouettes. Painting the negative space first helps to set up the action of the figure, and their placement.

I then fill in the water, beach and sky around the figures and boats.

It's just a matter of developing the painting from those simple elements, once you have the structure down.

Fisherman Portrait

Arthur Egeli set up a wonderful pose on the beach of Matt a young fisherman.

Joining Arthur are his parents Joanette and Cedric Egeli. The Egeli's are wonderful portrait artists who come every summer and paint on the beach getting away from their overload of portrait commissions.

For many years I have been able to join the family and paint along side them from time to time. Teaching in this environment is informal. It's a  great chance to paint something fun and take a swim if the waters warm enough.

Margret McWethy

Last week Margret Mcwethy came to Provincetown to teach at the Cape School of Art. I took a break from getting ready for my show to attend the three day workshop.
Margret is a consummate artist, always learning and putting together her ideas in a notebook.
The class was all about the still life, outdoors and north light. She did a couple demos during the workshop and broke down the anatomy of the still life in an easily understood manner.
I totally walked away from the experience more enriched, not to mention a break from the anxiety show can create.
Below are some examples of her paintings and demos from the workshop.

 

Wellfleet Library Demonstration

Capturing Wellfleet, events continued this past Saturday with my two hour painting demonstration at the Wellfleet Library.
I started my demonstration by giving a short talk on Cape Cod Impressionist painting that roots are related to Charles Hawthorne.
The Cape Cod School of Art is one of the oldest schools of plein air painting.
I  blocked in my painting with color notes that related to the morning light key.
The second part of my demonstration I refined my initial notes in a more finished direction.

Capturing Wellfleet

On friday I joined several artist's in Wellfleet participating in Addison Galleries,  plein air event, "Capturing Wellfleet". A reception followed  last night at the Wellfleet library.

Wellfleet is a quiet historic village amidst miles of beaches and the Cape Cod National Seashore. Wellfleet, has a thriving art community as well.

I enjoyed the interaction with  artists and the many onlookers that participated. I chose to paint at the Wellfleet Pier, painting a small pastoral seaside vista. 

Next week I will be giving a painting demonstration at the Wellfleet Library from 10:00 to noon, open to the public.

The Grassy Lane

This lane is a particular favorite painting spot of mine. It looks a little unreal but it depicts the typical flowering charming garden, street scenes that Provincetown is known for.

I have painted several scenes of this and it's always in July when it's flowering. The lane is closed off to traffic but 40 years ago locals tell me it was a working lane. 

I painted this with a painting knife moving from the abstract color shapes to the more particular specific color shapes.

Last week, Arthur Egeli hired this young fisherman to pose for his class. I was able to jump in and paint as well. It's always a great experience to paint with artist's like Arthur who paint the figure so well. I was excited about the fact by teaching the mud head class two weeks ago, I was able to take this painting a little further; being  brushed up on my figure skills.

My workshop Painting the Town with John Clayton is coming up July 21 to 25 9:00am to 4pm.

Should be a blast there we will paint in some great spots around town. Contact the Capeshcoolofart.org if interested. 

Falmouth Mud Head Workshop

The weather was spectacular this past weekend for the two day workshop in Falmouth.

The focus was painting the outdoor portrait on the beach, typically called Mud Head.

The term was used by the students of Charles Hawthorne. 

Being true to the "Mud Head" teaching we only used painting knifes to keep it simple and not rendering details with a brush.

The Model has his back to the sun and he or she is a silhouette against the sky. 

All the color is easy to see as well, light is reflecting everywhere and making beautiful color notes.

One of the students asked, "how does painting the mud head apply to painting in general"?

There are tremendous benefits to studying this type of painting mostly getting those subtle color notes as well as going for simple light and shade patterns.

Back in Provincetown yesterday I was able to put into practice the Mud Head teaching in a practical way.

Arthur Egeli set up a pose with a young man fishing. The model was just a simple silhouette  against the sky.

Events and More Events

The last couple of weeks have been busy for  events. The end of the Cape School class at the historic Hawthorne Barn and then a Plein air painting even in Orleans at the Addison Gallery.

Participating in the Orleans painting event was a nice way to meet other artists and possible new collectors in the mid cape. I enjoy painting new scenes and the social event that follows at the Addison Gallery; to be honest I love painting by myself the most. I find when I'm alone I can concentrate more and get more accomplished. 

Painting is very much a solitary life when I paint I'm sort of praying or meditating. It sure is nice to have company once in awhile however.

The Hawthorne Barn

Twenty Summers is the name of the events currently taking place at the old Hawthrone Barn on Miller Hill Road. Among the many concerts and symposiums is the week long Cape School of Art classes, which I'm also teaching, along with Cedric Egeli and Hilda Neily. 

Charles Hawthorne taught in this historic building for decades until his death in 1930. 

It has been 80 years since the school has held classes in this Barn. 

Arthur Egeli began the classes by giving a Portrait demonstration, followed by Cedric Egeli's class in portraiture.

In the afternoon learning to see color class was held with myself and Hilda Neily teaching.

Both classes where well attended. 

This historic barn was created as an art studio for artist's to paint in. The large north light window creates a beautiful steady light making ideal circumstances for the artist to continue working no matter what the outside light conditions are.

Arthur Egeli gives a talk about portrait fundamentals .

Lilacs on Law

I couldn't resist painting these Lilacs, two days ago. I will go back today and finish this painting. The use of the pallet knife really gives the picture texture and rich color, which I"m after for this painting.

I like painting on law street this time of year because it has a view of the water. Besides it's quiet for now.

The Perfect afternoon presented an excellent opportunity to finish my painting of Lilacs on Law.

I basically cleaned up the painting getting rid of the white unpainted areas and then added a couple details, here and there.

Twenty Summers Cape School Journey The First Summer

While I was a student at the Art Student's League in New York, I took a trip to Provincetown. I fell in love with the town right away. A friend told me that I could take a landscape painting class at the Cape Cod School of Art on the top of Pearl Street.
The Magical old barn that once was Charles Hawthorn's Studio was everything a historic art school should be.
Drying racks full of colored paintings that went back 80 years. Dusty bottles, pans and various still life objects cluttered paint chipped shelves.

The Cape Cod School of Art was owned at the time by Lois Griffel. Lois was a student of Henry Hensche. Lois encouraged me to come back to the school the following summer. "This isn't a school to learn how to paint pretty landscape pictures, this is a school where one learns to see color" Lois told me.

The paintings seemed very pastel to me and I wasn't sure why and then I realized they where filled with color and light. Somehow I realized I was going to not only learn to see color this way but, that I would live in this old barn as well. In fact my journey had begun at this point. I ended up spending four summers living in that barn.

A bird decided to keep me company one morning and stayed on my shoulder the whole morning.

The back of the barn was called the sandbox because Hensche filled it with sand, thinking you could see color better. I spent hours and weeks painting still life and blocks wanting to see the color the way that was reflected in the pictures which hung in the old barn.

That old barn on 46 Pearl street was really a part of Americana and the last hold out to bohemian Provincetown. Provincetown was changing when I was painting the summer of 1995 but it was still a thriving art colony and community that encouraged young painters making possible to spend a summer learning something frivolous as seeing color.
The current Provincetown is still a wonderful walkable town full of galleries, restaurants, beaches. The artist I am today is  due to the training I received and the experience of living  in a wonderful art community in a simply time, that is no longer.

Spring Views

I am starting a seres of spring paintings this week. I will need to go back to location at least once to finish these two paintings. The rooftops is a favorite view of mine. The trouble with painting on the spot is  that spring is a  fairly short time around here. If rain comes for a week my chance to finish will be next year.
My paintings require a little study to them. I don't like to paint plein air paintings in the studio because they loose the freshness and you could easily alter the light key, or cancel out the sense of logic a painting should have.

The above scene is done in the morning. I'm focused on the tree in the far right. All the buildings are in shadow except for the roofs.

The same scene in the second painting, only this time it's in the afternoon. All the building are in the light and the tree is in shadow.

East End Market

Yesterday I made a small painting sketch of the East End Market, in Provincetown. There isn't a lot of green this time of year and the trees are still bare. Spring is quick around here and it gives me a chance to paint views otherwise covered by foliage.
I painted these two spring scenes, with different brush techniques; giving texture to the painting.

East End Market Oil on Canvas 8x10

East End View oil on canvas 8x10

Falmouth Art Guild Mud - Head Demonstration

Yesterday I took the quiet  drive to Falmouth, to the Falmouth Art Center; where I did a mud head demonstration.
I've talked about the mud head and the significance it has to Cape School painting.
Charles Hawthorne at the early part of the last century taught simple mass painting by setting up young models on the beach and made his students use putty knives to keep them from making useless details.

I have a mud head from the 1930's that was found in the studio and was used for insulation.
I started my demo by giving a talk about this type of painting and then we went outside and I did a demo of a woman sitting with her back to the sun.

Cape School Of Art study. Artist unknown.

My class will be held at the Falmouth Art Center in June.

Saturday and Sunday: 9:00 AM - 4:00 PM 
June 21 - 22, 2014

If you look I have a paint gallon to weigh down my easel. Before I started the demo the wind blew my whole easel over, spilling paint everywhere. Ugh ,welcome to plein air painting. Well my friend Ed showed up and we quickly cleaned up and I was able to start the painting.

I have to admit that when I was asked to teach this class by the guild I was apprehensive. My thoughts where that there are certainly more artist's who's portrait skills are finer. 

The truth about the mud head is that is far removed from fine portraiture. This type of painting simple and fun. The artist isn't tying to render a strong likeness they are learning to make there painting feel like the person sitting on the beach in sunlight.

Landscape, portrait and still life must be handled in the same way, especially in the start.
Through simple masses of color coming together. "One spot of color coming against another spot of color.